A young woman who works as a karaoke hostess in Koreatown reconnects with her estranged brother in the final days of their father’s life.
At a brisk 87 minutes, “Ms. Purple” feels like a diamond I stumbled upon this year at the Dallas International Film Festival. With a local producer from Plano, the film screened to a would-be packed theater (a little rain dampened the audience’s attendance I think.) Knowing literally nothing about this movie, I found my spot in the theater hoping to be surprised. My hopes were more than rewarded 87 minutes later when the credits finally rolled. It’s no wonder this film took home the Grand Jury Prize for the film festival!
There’s something unique and magical about this one. From its intimate story of two siblings and their convoluted relationship with their dying father to its honorific perspective of LA’s Koreatown, I found myself entranced. “Ms. Purple” dives deep into the complexities of two siblings living hardened lives driven together when their father’s comatose state comes into question. The film thrives in its paired down budget by focusing on sharp cinematography, profound acting performances, and taut script.
Our film centers around an older brother/younger sister duo, in their mid-20’s. Their father lies in a comatose state and his caretaker just walked out on them. All alone, Kasie (Tiffany Chu) calls her brother Carey (Teddy Lee) to ask for his help. She needs to continue working as a Tomei – a girl who assists male guests at karaoke lounges, and a for-hire girlfriend. Her homeless brother, with nothing to his name, agrees. Thus begins the story of these two figuring out their lives even as they cope with the grief and trauma their father caused them.
Not everything plays as intense as it sounds. The film rests on the shoulders of both Teddy Lee (Carey) and mostly on Tiffany Chu (Kasie.) The two deliver pitch-perfect performances. Teddy’s standoffish yet affable approach to big brother-hood makes him the perfect reluctant brother. He screams when he’s mad and defies at every turn, but his turns in comedic situations (rolling his father along the California highway) help to lighten the film. Simultaneously, Tiffany Chu eats up scene work, spitting out emotions strong enough I wanted to cry. You can see her burying her grief and guilt and trying not to get sucked in, but her anguish only grows over the course of the film and we reach a fever pitch of emotion where I held my breath waiting for the next moment.
While the actors deliver on performances, the camera brings to light this emotional turmoil, framing the subtle lighting. While content to use the standard shot-reverse shot from time to time, “Ms. Purple” incorporate a photo montage effect, drawing out the moment and adding an extra beat for the audience to breathe in the content of the previous scene. I absolutely adored the matching cinematographic symbolism as we stare at palm trees (the ultimate sign of L.A. – also a nod to immigration.) When Kasie breathes in the fresh morning air she’s limned in purple. In the karaoke club, laser lights and neon bounce around the background and the action occurs in mixed purple-green-yellow hues.
While more could be made of the story I think it’s unfair to ask to make this movie into something extra. It sits perfectly poised on a finishing note when it delivers its conclusion. Myself being more a fan of magical realism I found the ending to be poignantly symbolic, bittersweet even. While not a coming-of-age tale these characters grow and develop and overcome emotional trauma. It’s a privilege to see that growth and to know how they’ve earned it climbing out of traumatic positions. Producer Alex Chi noted the original cut contained more story revolving around their mother but he admitted the story is more Kasie’s than anybody else’s and a mother plot, while helpful, ultimately did not add more to the movie that was already there.
I applaud Justin Chon for his directing style. I think he’s a talent to watch out for. Even as he climbs the Sundance ladder and earns his place among the indie virtuosos, keep your eyes peeled for his Asian-American film focus. I am not the arbiter of cultural authenticity, but I will say I found this film refreshing in that it reflects the diverse population of its background. I will be keeping an eye out for more films from this corner and I hope “Ms. Purple” continues on its track as a successful indie film.
“Ms. Purple” recently screened at the 2019 Dallas International Film Festival
